Tom Fontana

While Tom Fontana was playwright-in-residence at the Williamstown Theatre Festival, Jake and Gwyneth Paltrow saw his play "The Spectre Bridegroom" and insisted their father, producer Bruce Paltrow, gi...
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Tom Hanks, Nathan Lane, Tom Sturridge and Cyndi Lauper are among the stars set for glory at this year's (13) Tony Awards after landing a series of top nominations. Oscar winner Hanks is in the running for Best Performance by an Actor in a Leading Role in a Play for his part in Lucky Guy at the upcoming 67th annual prizegiving, which honours the best on Broadway.
He will go head-to-head with Lane (The Nance), Tracy Letts (Who's Afraid of Virginia Woolf?), David Hyde Pierce (Vanya and Sonia and Masha and Spike) and Sturridge (Orphans).
Legendary actress Cicely Tyson is up for Best Performance by an Actress in a Leading Role in a Play for The Trip to Bountiful, facing competition from Laurie Metcalf (The Other Place), Amy Morton (Who's Afraid of Virginia Woolf?), Kristine Nielsen (Vanya and Sonia and Masha and Spike) and Holland Taylor (Ann).
Meanwhile, Lauper's hit Kinky Boots bagged the lion's share of nominations with 13 Tony nods, while Matilda The Musical scooped 12. The two stage shows will compete for the coveted Best Musical trophy alongside Bring It On: The Musical and A Christmas Story, The Musical.
Pop star Lauper, who wrote the score for Kinky Boots, has taken to her Twitter.com page to share her excitement, writing, "OmG (Oh my God)! OMG!! Wow we got nominated! I'm crying and jumping up and down! I can't believe it so excited! So proud to be part of this!"
The winners will be unveiled at a ceremony on 9 June (13) at Radio City Musical Hall in New York City.
The main list of nominees is as follows:
Best Play:
The Assembled Parties
Lucky Guy
The Testament of Mary
Vanya and Sonia and Masha and Spike
Best Musical:
Bring It On: The Musical
A Christmas Story, The Musical
Kinky Boots
Matilda The Musical
Best Book of a Musical:
A Christmas Story, The Musical
Kinky Boots
Matilda The Musical
Rodgers & Hammerstein's Cinderella
Best Original Score (Music and/or Lyrics) Written for the Theatre:
A Christmas Story, The Musical
Hands on a Hardbody
Kinky Boots
Matilda The Musical
Best Revival of a Play:
Golden Boy
Orphans
The Trip to Bountiful
Who's Afraid of Virginia Woolf?
Best Revival of a Musical:
Annie
The Mystery of Edwin Drood
Pippin
Rodgers & Hammerstein's Cinderella
Best Performance by an Actor in a Leading Role in a Play:
Tom Hanks - Lucky Guy
Nathan Lane - The Nance
Tracy Letts - Who's Afraid of Virginia Woolf?
David Hyde Pierce - Vanya and Sonia and Masha and Spike
Tom Sturridge - Orphans
Best Performance by an Actress in a Leading Role in a Play:
Laurie Metcalf - The Other Place
Amy Morton - Who's Afraid of Virginia Woolf?
Kristine Nielsen - Vanya and Sonia and Masha and Spike
Holland Taylor - Ann
Cicely Tyson - The Trip to Bountiful
Best Performance by an Actor in a Leading Role in a Musical:
Bertie Carvel - Matilda The Musical
Santino Fontana - Rodgers & Hammerstein's Cinderella
Rob McClure - Chaplin
Billy Porter - Kinky Boots
Stark Sands - Kinky Boots
Best Performance by an Actress in a Leading Role in a Musical:
Stephanie J. Block - The Mystery of Edwin Drood
Carolee Carmello - Scandalous
Valisia LeKae - Motown The Musical
Patina Miller - Pippin
Laura Osnes - Rodgers & Hammerstein's Cinderella
Best Performance by an Actor in a Featured Role in a Play:
Danny Burstein - Golden Boy
Richard Kind - The Big Knife
Billy Magnussen - Vanya and Sonia and Masha and Spike
Tony Shalhoub - Golden Boy
Courtney B. Vance - Lucky Guy
Best Performance by an Actress in a Featured Role in a Play:
Carrie Coon - Who's Afraid of Virginia Woolf?
Shalita Grant - Vanya and Sonia and Masha and Spike
Judith Ivey - The Heiress
Judith Light - The Assembled Parties
Condola Rashad - The Trip to Bountiful
Best Performance by an Actor in a Featured Role in a Musical:
Charl Brown - Motown The Musical
Keith Carradine - Hands on a Hardbody
Will Chase - The Mystery of Edwin Drood
Gabriel Ebert - Matilda The Musical
Terrence Mann - Pippin
Best Performance by an Actress in a Featured Role in a Musical:
Annaleigh Ashford - Kinky Boots
Victoria Clark - Rodgers & Hammerstein's Cinderella
Andrea Martin - Pippin
Keala Settle - Hands on a Hardbody
Lauren Ward - Matilda The Musical
Best Direction of a Play:
Pam MacKinnon - Who's Afraid of Virginia Woolf?
Nicholas Martin - Vanya and Sonia and Masha and Spike
Bartlett Sher - Golden Boy
George C. Wolfe - Lucky Guy
Best Direction of a Musical:
Scott Ellis - The Mystery of Edwin Drood
Jerry Mitchell - Kinky Boots
Diane Paulus - Pippin
Matthew Warchus - Matilda The Musical
Best Choreography:
Andy Blankenbuehler - Bring It On: The Musical
Peter Darling - Matilda The Musical
Jerry Mitchell - Kinky Boots
Chet Walker - Pippin
Best Orchestrations:
Christopher Nightingale - Matilda The Musical
Stephen Oremus - Kinky Boots
Ethan Popp and Bryan Crook - Motown The Musical
Danny Troob - Rodgers & Hammerstein's Cinderella.

Jesse Tyler Ferguson and Sutton Foster took the stage together. No, they haven't teamed up for a Broadway show, a new television series, or a Modern Family/Bunheads crossover (which would be awesome). But the theater-loving stars came together Tuesday to announce the nominations for the 2013 Tony Awards. (They are the hosts for this year's show, after all, so it only made sense that these two would have the honors of making the big announcement.)
Check out which plays and actors are nominated for Tony Awards for their work on the stage this year.
2013 Tony Awards Nominations:
Best Play:The Assembled PartyLucky GuyThe Testament of MaryVanya and Sonia and Masha and Spike
Best Musical:Bring It On: The MusicalKinky BootsMatilda The MusicalA Christmas Story, The Musical
Best Book of a Musical:A Christmas Story, The MusicalKinky BootsMatilda The MusicalRodgers + Hammerstein's Cinderella
Best Revival of a Play:Golden BoyOrphans The Trip to BountifulWho's Afraid of Virginia Woolf?
Best Revival of a Musical: AnnieThe Mystery of Edwin DroodPippinRodgers + Hammerstein's Cinderella
Best Performance by an Actress in a Leading Role in a Play: Laurie Metcalf, The Other PlaceAmy Morton, Who's Afraid of Virginia Woolf?Kristine Nielsen, Vanya and Sonia and Masha and SpikeHolland Taylor, AnnCicely Tyson, The Trip to Bountiful
Best Performance by an Actor in a Leading Role in a Play: Tom Hanks, Lucky GuyNathan Lane, The NanceTracy Letts, Who's Afraid of Virginia Woolf?David Hyde Pierce, Vanya and Sonia and Masha and SpikeTom Sturridge, Orphans
Best Original Score (Music and/or Lyrics) Written for the Theatre: A Christmas Story, The Musical Music and Lyrics: Benj Pasek and Justin Paul Hands on a Hardbody Music: Trey Anastasio and Amanda Green Lyrics: Amanda Green Kinky Boots Music &amp; Lyrics: Cyndi Lauper Matilda The Musical Music &amp; Lyrics: Tim Minchin
Best Performance by an Actress in a Leading Role in a Musical: Stephanie J. Block, The Mystery of Edwin Drood Carolee Carmello, Scandalous Valisia LeKae, Motown The Musical Patina Miller, Pippin Laura Osnes, Rodgers + Hammerstein’s Cinderella
Best Performance by an Actor in a Leading Role in a Musical: Bertie Carvel, Matilda The Musical Santino Fontana, Rodgers + Hammerstein’s Cinderella Rob McClure, Chaplin Billy Porter, Kinky Boots Stark Sands, Kinky Boots
Best Performance by an Actress in a Featured Role in a Play: Carrie Coon, Who’s Afraid of Virginia Woolf? Shalita Grant, Vanya and Sonia and Masha and Spike Judith Ivey, The Heiress Judith Light, The Assembled Parties Condola Rashad, The Trip to Bountiful
Best Performance by an Actor in a Featured Role in a Play:Danny Burstein, Golden Boy Richard Kind, The Big Knife Billy Magnussen, Vanya and Sonia and Masha and Spike Tony Shalhoub, Golden Boy Courtney B. Vance, Lucky Guy
Best Performance by an Actress in a Featured Role in a Musical:Annaleigh Ashford, Kinky Boots Victoria Clark, Rodgers + Hammerstein’s Cinderella Andrea Martin, Pippin Keala Settle, Hands on a Hardbody
Best Performance by an Actor in a Featured Role in a Musical:Charl Brown, Motown The Musical Keith Carradine, Hands on a Hardbody Will Chase, The Mystery of Edwin Drood Gabriel Ebert, Matilda The Musical Terrence Mann, Pippin
Best Costume Design of a Play: Soutra Gilmour, Cyrano de Bergerac Ann Roth, The Nance Albert Wolsky, The Heiress Catherine Zuber, Golden Boy
Best Costume Design of a Musical: Gregg Barnes, Kinky Boots Rob Howell, Matilda The Musical Dominique Lemieux, Pippin William Ivey Long, Rodgers + Hammerstein’s Cinderella
Best Direction of a Play:Pam MacKinnon, Who’s Afraid of Virginia Woolf? Nicholas Martin, Vanya and Sonia and Masha and Spike Bartlett Sher, Golden Boy George C. Wolfe, Lucky Guy
Best Direction of a Musical:Scott Ellis, The Mystery of Edwin Drood Jerry Mitchell, Kinky Boots Diane Paulus, Pippin Matthew Warchus, Matilda The Musical
Best Choreography:Andy Blankenbuehler, Bring It On: The Musical Peter Darling, Matilda The Musical Jerry Mitchell, Kinky Boots Chet Walker, Pippin
Best Orchestrations:Chris Nightingale, Matilda The Musical Stephen Oremus, Kinky Boots Ethan Popp &amp; Bryan Crook, Motown The Musical Danny Troob, Rodgers + Hammerstein’s Cinderella
Best Scenic Design of a Play:John Lee Beatty, The Nance Santo Loquasto, The Assembled Parties David Rockwell, Lucky Guy Michael Yeargan, Golden Boy
Best Scenic Design of a Musical:Rob Howell, Matilda The Musical Anna Louizos, The Mystery of Edwin Drood Scott Pask, Pippin David Rockwell, Kinky Boots
Best Lighting Design of a Play: Jules Fisher &amp; Peggy Eisenhauer, Lucky Guy Donald Holder, Golden Boy Jennifer Tipton, The Testament of Mary Japhy Weideman, The Nance
Best Lighting Design of a Musical:Kenneth Posner, Kinky Boots Kenneth Posner, Pippin Kenneth Posner, Rodgers + Hammerstein’s Cinderella Hugh Vanstone, Matilda The Musical
Best Sound Design of a Play:John Gromada, The Trip to Bountiful Mel Mercier, The Testament of Mary Leon Rothenberg, The Nance Peter John Still and Marc Salzberg, Golden Boy
Best Sound Design of a Musical:Jonathan Deans &amp; Garth Helm, Pippin Peter Hylenski, Motown The Musical John Shivers, Kinky Boots Nevin Steinberg, Rodgers + Hammerstein’s Cinderella
Special Tony Award for Lifetime Achievement in the Theatre:Bernard GerstenPaul LibinMing Cho Lee
Regional Theatre Award:Huntington Theatre Company, Boston, MA
Isabelle Stevenson Award:Larry Kramer
Tony Honors for Excellence in the Theatre:Career Trainsition For DancersWilliam CraverPeter LawrenceThe Lost ColonyThe four actresses who created the title role of Matilda The Musical on Broadway: Sophia Gennusa, Oona Laurence, Bailey Ryon, and Milly Shapiro
Follow Lindsey on Twitter @LDiMat.
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The Modern Family Makes Some Friends: Since Star Wars news has been all the rage lately, most of you have probably been wondering, "But what about Billy Dee Williams?" Well, that question is about to be answered: Williams will guest star on an upcoming episode of Modern Family, playing himself. In another episode, Nathan Lane will return as Pepper, the flamboyant friend of Mitch and Cam. [EW]
Dylan Walsh Gets His Revenge: Watch out, Conrad Grayson! There's another wealthy hedge fund manager in town, and he comes in the form of former Nip/Tuck star Dylan Walsh. Walsh has booked a multi-episode arc in the series, as the stylish Jason Prosser. [EW]
Good Wife Nabs Another Good Guest: Paging Agent Cooper! Twin Peaks (and Sex and the City, and Desperate Housewives, and, um, Made in Jersey) alum Kyle MacLachlan has booked a multi-episode arc on CBS' hit drama The Good Wife, playing a character who will intersect with Alan Cumming's Eli Gold. [EW]
NBC Gets Presidential: He saves children, but not the British children! (Points for you if you get that joke.) Anyway, NBC has put in development George Washington, a drama series from Oscar-winning writer David Seidler (The King’s Speech), Barry Levinson, and Tom Fontana, about Abraham Lincoln. JK! It's about George Washington. [Deadline]
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The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.

The four-year love affair is over. Daily Variety reports today that MTV has canceled the late-night series “Loveline” after a four-year run.
MTV gave no reason for deciding not to renew the advice show for another 15 episodes.
“Loveline,” hosted by Adam Corolla, Dr. Drew Pinsky and Catherine McCord, has accumulated 369 half-hours since its MTV debut in November 1996.
THE $10 MILLION MAN: Recent Emmy winner James Gandolfini has signed a renegotiated contract that will give him $10 million for the next two seasons of the HBO hit drama “The Sopranos,” Variety says. The deal signed last week is said to include future obligations as actor and producer in television series for “Sopranos” partners Brad Gray Television and HBO.
UPN’S CASE OF ‘RAGE:’ UPN has picked up six hours of the reality series “Road Rage,” a mix of demolition derby and wrestling, from Mandalay Sports Entertainment and Scott Sternberg Prods., Variety says. “Rage” is being prepared for midseason and might air on Fridays.
MAMET AND MORROW ON THE BEAT: Playwright David Mamet and TV veterans Rod Holcomb and Tom Fontana are joining forces to develop a drama series for CBS and Artists Television Group, Variety reports. The show, tentatively titled “Bradford,” would star Rob Morrow as a big city police officer who returns to his small hometown.
NBC SAYS NO TO SPIELBERG: The Hollywood Reporter says today that NBC has decided not to pick up Steven Spielberg’s boot camp drama “Semper Fi” as a midseason replacement. DreamWorks Television has sent tapes to CBS and Fox, and if neither network picks up the show, NBC would air the pilot as a television movie.
KINISON BIOPIC IN THE WORKS: Universal Pictures is in talks to acquire feature film rights to late comedian Sam Kinison’s life story and a biography about him published in 1994, the Reporter says. “Brother Sam: The Short, Spectacular Life of Sam Kinison” follows Kinison’s life from high school dropout to his successful career as a profane, screaming comic. Kinison was 38 when he was killed in a head-on collision with a drunken driver in 1992.

We're declaring this Fox Week here at Channel Surfer. We make this declaration based on the fact that the network has more mentions (four) this week than it's had all year. And, in a twist, none of its highlighted programming involves driving a motorcycle head-on into a train or a staging marriage between strangers.
Almost forgotten within the clutter of reality based programming offered by Fox ("and by "reality based," we mean "stupid"), is the fact that the network also offers two of the most intelligent half-hour comedies on network TV -- "The Simpsons" and "Malcolm in the Middle." Strangely enough, these series also happen to be Fox's two highest-rated shows. Hmmm …
"The Simpsons" (8 p.m. EST/PST, tonight) changed network comedy for the better more than a decade ago and carried the fledgling Fox on its back for years. It's not as fresh as it once was, but the truth is, it's an amazing accomplishment that, after 12 years, it's still any good at all. Remember how bad "M*A*S*H" got toward the end? "The Simpsons" is still funny, and, occasionally, even inspired. Tonight is another "flash forward" episode that sees Lisa become president of the United States while Bart becomes her own personal Billy Carter.
Usually a comedy has to be on basic cable to be as smart and funny as "Malcolm in the Middle" (8:30 p.m. EST/PST, tonight). (Of course, if Fox's overall ratings get much lower, it'll qualify for basic-cable status.) In any case, in this all new "Malcolm," hurricane mom (Jane Kaczmarek) loses her job. Take cover.
From the network (E!) that brought you digitized cube things over naked women's breasts comes "Best Actress" (9 p.m. EST/PST, tonight). Considering the source, "Best Actress" is a very nice surprise. It's a satire on the lives of Hollywood starlets during awards season. There's still plenty of the sex-'n'-scandal stuff we've come to expect from E!, but "Best Actress" doesn't forget that it's supposed to be clever and funny, too. And it is.
Also tonight, VH-1 offers a double shot of Elton John. First up is a brand new episode of the venerable documentary series "Behind the Music" (9 p.m. EST/PST), reliving 30 years of Elton's music, his, uh, flamboyance, the prerequisite drug addictions and most importantly his giant, wacky sunglasses. This is followed by "Elton John's Road to El Dorado" (10 p.m. EST/PST), featuring performances of new music from the upcoming DreamWorks animated film, and some old classics, from the Venetian Room in San Francisco.
ABC follows up last week's "Satan's School for Girls," with "A Tale of Two Bunnies" (8 p.m. EST/PST, Monday). And the tradition of quality continues. The best thing about this look inside the world of two 1960s-era Playboy Bunnies (newcomers Marina Black and Julie Condra) is that it really brings out what a nice job E! has done in parodying sleaziness with its own new movie (see above).
Another strong mid-season replacement pops up on Fox (making you wonder, "What was the deal with the beginning of the season?"), when "Titus" debuts at 8:30 p.m. EST/PST, Monday. Comedian Christopher Titus is very believable in the role of himself, as he turns his autobiographical one-man show "Norman Rockwell Is Bleeding" into a sitcom. Stacy Keach co-stars as his father -- the early influence and driving force behind his life-long struggle to find the comedy amid the dysfunction.
In its continuing effort to not be perceived as a subsidiary to the World Wrestling Federation, UPN offers "The Beat" (9 p.m. EST/PST, Tuesday). Produced by Tom Fontana and Barry Levinson ("Homicide"), "The Beat" offers "Homicide"-like story lines but with younger, sexier cops at its center. Also, in an attempt to separate itself from the pack, it introduces a new way to annoy the audience -- instead of a camera that just shakes a lot (like in "NYPD Blue"), "The Beat" camera switches back and forth between standard film and video (like "COPS").
For fans of "Behind the Music" or "E! True Hollywood Story"-style documentaries, check out TV Land's "Inside TV Land," (10 p.m. EST/PST, Tuesday). Nick's spin-off network serves up the dirt on some of the most beloved staples of American pop culture. This week's episode takes a look at "The Andy Griffith Show." Remember when Nikki Sixx of Motley Crue died of a heroin overdose and came back to life in the ambulance? The "Andy Griffith" thing probably won't be quite like that.
And, as the celebration of Fox Week continues, it's time to look at the American Comedy Awards (8 p.m. EST/PST, Thursday). This is one awards show where you would think the presenters and recipients might have something entertaining (and/or funny) to say. The show was taped last month, and word is that Steve Martin, Chris Rock, Martin Short and many more actually managed to do just that.
And finally, ABC serves up another grand experiment in reality based television with MTV Productions' "Making the Band" (9 p.m. EST/PST, Friday). If you're looking for something different and innovative, this might work for you. Combining the voyeuristic soap opera effect of MTV's "The Real World" with the screaming-teen factor of its hit countdown show "Total Request Live" (not to mention a generous helping of "The Monkees"), this show smells like it's going to pull in an audience. The plot? We follow the lives of 25 young, singin' and dancin' guys as they vie for just five spots in a brand-new boy band. It sounds annoying, sure, but that's what we thought about "The Real World" just before we started taping the episodes and trading them with our friends.
Happy Fox Week, everybody! Drive safely, and don't forget to celebrate with someone you love!

Sean "Puffy" Combs apparently has time to mix business with charges.
While attending the Grammys last week, prosecutors accused the rapper/mogul of trying to bribe his driver into taking the fall for a gun found in his vehicle after a New York club shooting in December. (He pleaded not guilty Tuesday to the bribery charges -- just as he had refuted gun possession charges in January.)
Though Combs' exact involvement in the incident is still in dispute, he's definitely hoping to be involved in the indie comedy "Made."
The Hollywood Reporter says he's in final negotiations to play the head of a New York-based syndicate. The fish-out-of-water tale marks the directing debut of actor-writer Jon Favreau. The story has Favreau and "Swingers" comrade Vince Vaughn playing boxers and lifelong pals who get involved in a money-laundering scheme. Combs will be the gun-toting, money-waving heavy (sound familiar?) to whom the boys owe a rather large debt.
"Made" would be Comb's big-screen debut. The entrepreneur was supposed to star in Oliver Stone's gridiron drama "Any Given Sunday," but dropped out due to other professional commitments (although the rumor mill ranges from conflicts with Stone to questions about Puffy's acting ability). His role as a self-centered, controversial quarterback eventually went to less-controversial Jamie Foxx.
Favreau wrote the script for "Made," and will produce with Vaughn. Filming is scheduled to begin next month -- in time for a mid-shoot break for Combs' next court appearance May 16.
BOMBS AWAY? "Armageddon" alum Ben Affleck is in talks to join the uber-producer's latest uber-production, "Pearl Harbor," today's Hollywood Reporter says. Affleck would be the biggest star yet to join Hollywood's biggest-ever budgeted flick.
DENZEL IN 'TRAINING': Denzel Washington, currently in the Best Actor Oscar race for playing boxer Rubin "Hurricane" Carter in "The Hurricane," will hit the streets again in the Warner Bros.' drama "Training Day." According to trade paper reports, Washington's in serious talks to play a corrupt veteran cop who's assigned to train a rookie on his first day with the LAPD's undercover narcotics unit.
'UNBREAKABLE' PENN: Robin Wright Penn has the right instinct for "The Sixth Sense's" M. Night Shyamalan. The actress is in talks to play the female lead in the writer-director's follow-up project "Unbreakable." Previously, Julianne Moore had made sense until she dropped out to (reportedly) replace Jodie Foster in "Hannibal."
ONE OF THE 'GUYS': Ten years later, "China Beach" Emmy winner Dana Delany has found her way back to the small screen. She's getting set to star in the pilot for the NBC crime drama "Good Guys/Bad Guys."
The series, from "Homicide" creators Tom Fontana and Barry Levinson, has been in development for two years. Daily Variety reports that Delany might be paired off with ex-"Homicide" co-star Jon Seda. The pilot involves an FBI agent (Delany) in pursuit of a dangerous Hispanic crime lord (Seda). Shooting's set to begin in Miami next week.
YO NORTON! Art Carney, aka Ed Norton from "The Honeymooners," will take on his beloved alter ego once again in a series of promo spots for cable's TV Land. The hat, the white T-shirt, the vest and of course the 81-year-old Carney himself -- the whole package is set to appear the week of March 13 as part of the network's celebration of the classic series. In the spots, Carney's Norton will dispense advice on everything from finding good Chinese food to getting a job in television.

"The Sopranos' " stranglehold on awards shows no sign of weakening.
HBO's runaway mob series -- a hit at last month's Golden Globes -- has staked out four nominations for best direction in a TV series from the Directors Guild of America, making it the first drama series ever to walk away with four mentions in a single category for the same year. The DGA's TV categories were announced Monday.
The four "Sopranos" helmers tapped for the best director award are: Daniel Attias, for the episode titled "46 Long"; Henry J. Bronchtein, for "Nobody Know Anything"; David Chase, for the pilot episode; and Allen Coulter, for "College." The "Sopranos" foursome is up against Thomas Schlamme for his work on the pilot episode of NBC's "The West Wing."
The nominees for best director in a TV comedy series are: James Burrows, for an episode titled "Yours, Mine, Ours" of NBC's "Will &amp; Grace"; Thomas Schlamme, for the episode "Small Town" from ABC's "Sports Night"; Pamela Fryman, for the "Frasier" episode "The Flight Before Christmas"; Katy Garretson, for the "Frasier" episode "Dr. Nora"; and Victoria Hochberg, for "The Man, The Myth, The Viagra" from HBO's racy "Sex and the City."
In the category of best director of a musical variety show, the DGA nominated Gerard Foley for CBS' "Late Show with David Letterman"; Dennie A. Gordon, for HBO's "Tracey Takes On ... End of the World"; Louis J. Horvitz, for the "71st Annual Academy Awards" on ABC; Rob Marshall for ABC's "Annie"; and Beth McCarthy Miller, for NBC's "Saturday Night Live 25th Anniversary."
The Directors Guild of America Awards will be announced March 11.
'MALCOLM' ON THE RISE: The fledgling Fox smash sitcom "Malcolm in the Middle" is set to continue its comic form, as the network has ordered up 16 new episodes.
The light comedy has been a surprise hit since its debut last month and has been holding its turf as the top-ranked show during its 8:30-9 p.m. Sunday time slot. Its renewal comes as an expected move given the overall unspectacular lineup plaguing Fox of late.
Three of the 16 new "Malcolm" episodes will run as extra installments during the May sweeps; the remaining 13 are slated for the show's 2000-2001 fall season.
MALLRATS OF THE WORLD UNITE: Looks like MTV has stumbled upon a cost-efficient, foolproof formula for grabbing the undivided attention of 18- to 24-year-olds: Put real-life folks in probable confrontational situations, tape them, and then broadcast the video for the consumption of viewers worldwide.
Such is the concept of MTV's latest exploit -- "Mall Confession," another quasi-"drama" series being developed for the teen-music empire. In the cinema-verité tradition of "The Real World" and "Road Rules," the new "Mall Confession" is said to involve a traveling confessional booth that will solicit personal testimonies and intimate secrets from teens in malls across America.
No word yet if MTV's upright Carson Daly will be on hand to offer absolution.
THE HUMANITY OF IT ALL: And now a moment of silence for "Shasta."
The low-rated hip-hop sitcom, formerly titled "Shasta McNasty," will depart UPN's prime-time lineup next month. Starting March 21, the network will place the new cop drama, "The Beat," in the 9-10 p.m. Tuesday time slot. The move also will bump UPN's "Dilbert" toon from the schedule. Both departing shows will see their last air dates on March 14.
Produced by Barry Levinson and Tom Fontana ("Homicide"), "The Beat" follows Derek Cecil and Mark Ruffal as two young policemen fighting crime and personal evils in Manhattan's Lower East Side.
WHERE'S ROSIE: Rosie O'Donnell, seemingly the hardest-working woman on TV, will have a guest spot on NBC's "Third Watch" on Feb. 21.

Title

With Levinson, served as executive producer of the HBO series "Baseball Wives"

Wrote the teleplay and executive produced the religious-themed TV-movie "Judas and Jesus" (ABC)

Billed as 'creative concultant' on the Showtime series "The Hoop Life"

Playwright-in-residence, Williamstown Theatre Festival; plays produced there include "This Is On Me", "The Underlings", "The Overcoat" and "The Spectre Bridegroom"

Became playwright-in-residence at NYC's Writers Theatre

Wrote teleplay for ABC special "The Fourth Wise Man"

Co-creator, executive producer and writer for short-lived NBC series "Tattinger's"

Grew up in Buffalo, New York

Writer and producer for NBC series "St. Elsewhere"

Started a new, multi-million-dollar New York-based production company with Barry Levinson (Levinson-Fontana Productions)

Served as executive producer and writer for "Homicide: Life on the Street" (NBC)

Executive produced and co-wrote the NBC movie "The Prosecutors" (a pilot on which everybody passed)

Co-creator (with Barry Levinson) and executive producer of HBO's "Oz", a gritty dramatic series set in an urban prison

Executive produced the CBS miniseries "An American Tragedy" which focused on the murder trial of O.J. Simpson

Wrote "Johnny Appleseed: A Noh Play", produced at Studio Arena in Buffalo

Summary

While Tom Fontana was playwright-in-residence at the Williamstown Theatre Festival, Jake and Gwyneth Paltrow saw his play "The Spectre Bridegroom" and insisted their father, producer Bruce Paltrow, give Fontana a job on his new show "St. Elsewhere" (NBC, 1982-88), the perfect prescription for jumping a struggling playwright's yearly income from $5000 to $90,000. As one of the three top writer-producers for that series, he made a name and the beginning of a sizable fortune pioneering the story structure that weaves several narrative threads together in one hour, a formula that still successfully powers shows like "ER". Three Emmy Awards later (all for Outstanding Writing for a Drama Series), he is one of the most powerful television producers in the world. And yet . . . Fontana considers himself a writer, period. He produces so that he can have control over what happens to his words, and he does it well.

Name

Role

Comments

Charles Fontana

Father

Marie Fontana

Mother

Died December 25, 2007 in Buffalo, NY

Sagan Lewis

Wife

Married December 18, 1982; divorced

Deborah Oppenheimer

Companion

Worked on "The Drew Carey Show" (ABC) and produced the Oscar-winning documentary "Into the Arms of Strangers: Stories from the Kindertransport" (2000)

Education

Name

State University of New York, Buffalo

Canisius High School

State University of New York, Buffalo

Notes

Fontana has received two Writers Guild of America Awards and a Peabody for his work on "Homicide: Life on the Street". He earned a Peabody, the Humanitas Prize and a Writers Guild Award (among others) while affiliated with "St. Elsewhere". He is also a recipient of the Distinguished Alumni Award from his alma mater, the State University of New York at Buffalo.

"Personally, I think there's enough of 'Prozac television,' comforting, undisturbing, gentle, huggy-squeezy television, that I would hope there's a place for a show like 'Oz'. That is, if it's grim, then I think people who like grim television deserve to have a place to go on a weekly basis and be grim if they want.

"If you didn't like the characters, if they didn't get in your psyche, then - and forgive me - you probably shouldn't come back." - Tom Fontana to San Francisco Eaxaminer, July 22, 1997

"With 'Oz', I'm flying without a net. Instead of having stories that overlap, each story will last as long as that story needs to. So if we need to tell a story in fifteen minutes, we'll tell a fifteen-minute story. And then the next story may be a one-minute story, and the next a 35-minute story, within the hour. Each story lives on its own dramatic engine and is told from the perspective of a different character. I've never done it before, and as far as I know, nobody else has done it before." - Tom Fontana quoted in New York, July 14, 1997

"I've got enough Emmy Awards, I've got enough money. I've got enough of the stuff that you think you want at the end of the tally sheet. At this point in my career, my whole goal is to keep having fun and keep making as much trouble as I can." - Tom Fontana quoted in Los Angeles Times, Aug. 8, 1999